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kieselguhr kid

JNSN CODE GL16 / spl47 VINYL

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I think I've heard these tracks before

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Hang on. Hang on just a minute.

 

I think I’ve heard these tracks before? Can anyone confirm if these were released previously?

 

i think spl-something was on exai... what a rip off :I

 

 

Yeah it's awful to see how full of themselves Sam and Bob are right now... Remember when they used to give tracks to charity comps ? I miss those times.

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There need to be more charity comps! And obviously, there doesnt seem to be many elecronic music fans in the caribs. Japan, yes. Caribs, no. :(

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Apparently Touched has 40 more they're going to post up soon. https://www.facebook.com/touchedmusic/

 

Says to watch their Facebook but they'll be selling them through the Touched Bandcamp. Good luck

Edited by auxien

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40 MOAR UNLISTENED PETABYTES TOUCHED MY HARD DICSK

I need a break from IDM

Distortion fx and inflation everywhere.

 

I want Sean and Roberto Balsam to be a clarinet duo

ICD-17 (Intelligent Clarinet Duo)

Sean pls

Edited by Wurstwasser

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40 MOAR UNLISTENED PETABYTES TOUCHED MY HARD DICSK

I need a break from IDM

Distortion fx and inflation everywhere.

 

I want Sean and Roberto Balsam to be a clarinet duo

ICD-17 (Intelligent Clarinet Duo)

Sean pls

 

:)

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20 more copies up on Bandcamp now. Get in.

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Found this pretty good description of JNSN CODE GL16:

 

 

The Autechre track “JNSN CODE GL16” (Autechre enjoy using inscrutable track titles, perhaps so you have zero preconceptions about the music) opens with a buzzing, metallic, and cavernous melody-esque figure that is without any relation to acoustic timbres. This happens a lot with Autechre: the music catches you pigeon-toed by foregoing obvious connections to what you already know and you’re left off-balance. The melody-esque figure is simultaneously a echo-percussive sound too, doubling as the track’s rhythmic element. One minute into the track a kind of atmospheric pad drone joins in. The drone is beguiling: You can’t tell if it’s one or five notes. You can’t tell if it’s looping. You can’t tell if it’s forging ahead or retreating. It’s rather mesmerizing: How does Autechre do this with that?

 

About four minutes in, as you’re still trying to figure out the effects of the atmospheric pad drone, you notice that the buzzing metallic melody has vanished, leaving in its wake traces of itself in the form of pitched echoes bouncing around the sound field. Six minutes into the seven-and-a-half minute track, both the melody and the pad are gone, but instead of silence we hear what sounds like the attack points of the vanished melody knocking about a wonky plate-reverbed place. I’m not a sci-fi person, but I’ll admit that the end of “JNSN CODE GL16” evokes a robot discovering it has muscles, shadow-boxing in an abandoned warehouse somewhere.

 

The rest is here: https://brettworks.com/2017/10/12/on-closed-and-open-musics-or-change-versus-transformation-toggling-between-arovane-and-autechre/

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Nice little piece, hit the nail on the head with "the Autechre track keeps suggesting without defining"

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Nice little piece, hit the nail on the head with "the Autechre track keeps suggesting without defining"

 

keeps making dance music without dance. 

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Found this pretty good description of JNSN CODE GL16:

 

 

The Autechre track “JNSN CODE GL16” (Autechre enjoy using inscrutable track titles, perhaps so you have zero preconceptions about the music) opens with a buzzing, metallic, and cavernous melody-esque figure that is without any relation to acoustic timbres. This happens a lot with Autechre: the music catches you pigeon-toed by foregoing obvious connections to what you already know and you’re left off-balance. The melody-esque figure is simultaneously a echo-percussive sound too, doubling as the track’s rhythmic element. One minute into the track a kind of atmospheric pad drone joins in. The drone is beguiling: You can’t tell if it’s one or five notes. You can’t tell if it’s looping. You can’t tell if it’s forging ahead or retreating. It’s rather mesmerizing: How does Autechre do this with that?

 

About four minutes in, as you’re still trying to figure out the effects of the atmospheric pad drone, you notice that the buzzing metallic melody has vanished, leaving in its wake traces of itself in the form of pitched echoes bouncing around the sound field. Six minutes into the seven-and-a-half minute track, both the melody and the pad are gone, but instead of silence we hear what sounds like the attack points of the vanished melody knocking about a wonky plate-reverbed place. I’m not a sci-fi person, but I’ll admit that the end of “JNSN CODE GL16” evokes a robot discovering it has muscles, shadow-boxing in an abandoned warehouse somewhere.

 

The rest is here: https://brettworks.com/2017/10/12/on-closed-and-open-musics-or-change-versus-transformation-toggling-between-arovane-and-autechre/

I don't consider myself a grammar nazi but improper use of "-esque" gets on my tits.

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Well just from that article, if I’d never heard either track I’d rather listen to JUSTIN CODE

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Found this pretty good description of JNSN CODE GL16:

 

 

The Autechre track “JNSN CODE GL16” (Autechre enjoy using inscrutable track titles, perhaps so you have zero preconceptions about the music) opens with a buzzing, metallic, and cavernous melody-esque figure that is without any relation to acoustic timbres. This happens a lot with Autechre: the music catches you pigeon-toed by foregoing obvious connections to what you already know and you’re left off-balance. The melody-esque figure is simultaneously a echo-percussive sound too, doubling as the track’s rhythmic element. One minute into the track a kind of atmospheric pad drone joins in. The drone is beguiling: You can’t tell if it’s one or five notes. You can’t tell if it’s looping. You can’t tell if it’s forging ahead or retreating. It’s rather mesmerizing: How does Autechre do this with that?

 

About four minutes in, as you’re still trying to figure out the effects of the atmospheric pad drone, you notice that the buzzing metallic melody has vanished, leaving in its wake traces of itself in the form of pitched echoes bouncing around the sound field. Six minutes into the seven-and-a-half minute track, both the melody and the pad are gone, but instead of silence we hear what sounds like the attack points of the vanished melody knocking about a wonky plate-reverbed place. I’m not a sci-fi person, but I’ll admit that the end of “JNSN CODE GL16” evokes a robot discovering it has muscles, shadow-boxing in an abandoned warehouse somewhere.

 

The rest is here: https://brettworks.com/2017/10/12/on-closed-and-open-musics-or-change-versus-transformation-toggling-between-arovane-and-autechre/

 

arovane (and such) vs autechre = talent vs genius

 

and why shouldn't we read these guys instead? . . . . . . . .         kant on genius   . . . . . . . . .         schopenhauer on genius

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Grammar-esque

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''Music … stands quite apart from all the [other arts]. In it we do not recognize the copy, the repetition, of any Idea of the inner nature of the world. Yet it is such a great and exceedingly fine art, its effect on man’s innermost nature is so powerful, and it is so completely and profoundly understood by him in his innermost being as an entirely universal language, whose distinctness surpasses even that of the world of perception itself, that in it we certainly have to look for more than that exercitium arithmeticae occultum nescientis se numerare animi [“an unconscious exercise in arithmetic in which the mind does not know it is counting”] which Leibniz took it to be… We must attribute to music a far more serious and profound significance that refers to the innermost being of the world and of our own self.''

 

''Music is as immediate an objectification and copy of the whole willas the world itself is, indeed as the Ideas are, the multiplied phenomenon of which constitutes the world of individual things. Therefore music is by no means like the other arts, namely a copyof the Ideas, but a copy of the will itself, the objectivity of which are the Ideas. For this reason the effect of music is so very much more powerful and penetrating than is that of the other arts, for these others speak only of the shadow, but music of the essence.''

 

''The inexpressible depth of all music, by virtue of which it floats past us as a paradise quite familiar and yet eternally remote, and is so easy to understand and yet so inexplicable, is due to the fact that it reproduces all the emotions of our innermost being, but entirely without reality and remote from its pain. In the same way, the seriousness essential to it and wholly excluding the ludicrous from its direct and peculiar province is to be explained from the fact that its object is not the representation, in regard to which deception and ridiculousness alone are possible, but that this object is directly the will; and this is essentially the most serious of all things, as being that on which all depends.''

 

''How full of meaning and significance the language of music is we see from the repetition signs, as well as from the Da capo which would be intolerable in the case of works composed in the language of words. In music, however, they are very appropriate and beneficial; for to comprehend it fully, we must hear it twice.''

 

''Music (like Autechre, fak that Arovane guy) expresses in an exceedingly universal language, in a homogeneous material, that is, in mere tones, and with the greatest distinctness and truth, the inner being, the in-itself, of the world, which we think of under the concept of will, according to its most distinct manifestation.''

 

-- Aarty Shoppy 

Edited by xox

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20150612_163053.jpg

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jnsn kind of annoys me but spl47 is nuts. sounds like filthy mud water going down the drain and i'm obsessed w/ it

 

splat

Edited by morktoast

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